Peter Greenaway’s short film M is for Man, Music and Mozart, for which the Dutch composer Louis Andriessen composed the score, was commissioned to mark the bicentenary anniversary of Mozart’s death in 1791.
Together with fellow playwrights …mile Augier and Alexandre Dumas fils, Victorien Sardou dominated the French stage in the late nineteenth century. Although Sardou was an excellent craftsman who was elected to the AcadÈmie Francaise in 1877, his reliance on theatrical devices caused his plays to go out of style after the turn of the twentieth century.
The background of Giuseppe Verdi’s Nabucco, currently being presented at Lyric Opera of Chicago, draws on the struggle between Babylonian and Hebrew forces, emphasized in this production graphically by alternating scripts in cuneiform and Hebrew projections.
Whilst the Arts Council has been doing its best to destroy the English National Opera, ENO has fought back in the best way possible: in the theatre.
On Saturday, January 23, 2016, at the University of Arizona’s Crowder Hall, mezzo-soprano Jamie Barton and soprano Amber Wagner gave a delightful recital entitled From Baroque to Broadway. The Baroque was Benjamin Britten’s realization of three Henry Purcell songs: Music for a While, Lost is my Quiet, and What Can We Poor Females Do?
The route that Stuart MacRae and Louse Welsh have taken for their first full-length opera is reassuringly traditional in terms of getting experience of the genre, whilst the resulting work shows itself to be admirably anything but.
Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme – popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Gˆtterd‰mmerung in Sicily however compelled such a voyage.
PremiËred in 1877 at Offenbach’s own ThÈ‚tre des Bouffes Parisiens, Emmanuel Chabrier’s L’…toile has a libretto, by EugËne Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.